Five Spirals for December - #4 The Vision of St. Cecelia by Orazio Gentileschi

The Vision of St. Cecelia, Orazio Gentileschi (1620). Geometry: 2023, DS.

In ways, this post is an addendum to my previous (2022) Gentileschi post where the image above was first introduced. At the time, I had just had an automobile accident and my computer was stolen from the trunk of my destroyed vehicle. So, I wasn't able to overlay a spiral.

But, I have that capability back again, and, once tested, The Vision of St. Cecelia proved to be as golden as I suspected; and, actually, a little bit more! Orazio's spiral accomplishes what every good spiral ought to; it behaves like a clockwork.

As you can see from the images above, inset left, and inset below - and to see them best, click on any one of them for a sort of slide show - regardless of the spiral's size or orientation, its basic relationship to the image is not changed; it's proportions are, instead, systematically measured.

The spiral's activity in relationship to the painting, in this case, is determined by the apex (or acute tip) of the triangle and its direction in relation to the angel. The smallest spiral - and the most basic - informs us of the general focus of the design, which, as we might suspect, begins with the angel - Cecilia's "vision" - but  inevitably terminates on the body St. Cecilia.

But, Orazio has gone one step further. His spiral can be rotated (clockwise) and he shows precisely where it ought to go. First, the apex is turned from the angel's waist - its robes tied up in what appears to be an enormous bow - to the end of the white fabric. Note that the triangle's side is now facing Cecilia's pipe organ (inset right). Note also that, after every shift, the spiral still terminates on some portion of Cecilia and/or her clothing. How well this works, of course, relies on the size of triangle - the further the spiral has to turn will require a larger spiral.

Lastly, we carry the spiral to the furthest notch: indicated by the end the palm branch held in the angel's hand. The spiral is now enlarged (see below) and the triangle's side is up against the pipes of the organ... a perfect alignment. Is this significant? Well, yes, because, as it happens, Saint Cecilia is the Patron Saint of Musicians and Music. So, the spiral has made a cryptogram.

Of course, it might help to know Saint Cecilia's official story. But, I'll have to be brief, because I can't quite get it myself.

In Orazio's painting, the man in red facing Cecilia is most likely her formerly pagan husband, Valerian (who converted to Christianity), and the man in the doorway is her brother-in-law. All that's missing from the frame is the Roman soldier who was eventually martyred along with the rest of them. (although I haven't the faintest idea why). In any case, she and her husband must've never consummated their marriage before their untimely deaths as Cecilia died a virgin. She also "sang in her heart to the Lord"... and, along with martyrdom and her virginity is how she became a saint.

BTW, the 2 small wreaths of flowers - in the angel's hand and behind Cecelia, on the pipe organ - are chaplets of roses and lilies.

Another image that appeared in the first Gentileschi post in which I also found a spiral is the painting of Mary Magdalene, created by Orazio's daughter, Artemisia... an artist rediscovered, perhaps, fifty years ago or less. And they are still discovering her! (Image is below the jump.)

Anyway, Artemisia has finally come into her own in the modern world, and, if you have little prior knowledge of her, I suggest you read this older Green Women post...

Maria Maddalena come la Malinconia (Mary Magdalene as the Melancholy)
 - 1625, Artemisia Gentileschi. Geometry: 20123, DS.

But, of course, it was only after I created the digital image (above) that I learned my source .jpg may have been a forgery (see this article from an online art magazine)! So it goes; it was a good forgery and the most important elements are identical... that is, except for the position of the metal ointment jar, which, in the genuine painting touches the spiral. Oh, and the pearl earring (allegedly) only exists in the fake.

Regardless, one is informed by the figure's extremely long, bent neck - don't try this at home or you'll need a chiropractor - that a spiral may be present. Extreme physical contortions are often the first clue.* All in all, it's an unusual portrayal of the Magdalene... and this time around she almost looks battered as well as blue. (Note: is that bruising on her exposed shoulder and arm or just peculiar shadows?)

But, the bottom line in reference to both Gentileschis is that the spirals I've posted on this blog are the only spirals I've found in the paintings I've managed to find online. So, despite the fact they were both followers of Caravaggio they didn't use the spiral as extensively as the Bentvueghels did, although we do know that Artemisia had contact with the Dutch painters.

Inset right is a painting by Artemisia I've never seen before: Portrait of a Lady. No, it has no golden spiral... it's just a lovely portrait. Think of it as a belated Christmas gift (as I am so late finishing this post) and I hope you had a wonderful holiday. I'll be back again at year's end with spiral #5.

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* Speaking of extreme human poses in spiral paintings, nothing I've seen quite beats the collection in the painting featured below: The Martyrdom of St Cecilia by Carlo Saraceni (c. 1610). As with most artwork in those days, canvases were often cropped for image, thereby throwing the golden baby out with the bathwater.

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And for some last minute elegance, I've called upon Lisa Gerard again - our Patron Christmas Angel - posting one of a series of videos created for her 2022 collaborative album with Marcello De Francisci:

Exaudia. Enjoy.

 

Next up: Five Spirals for December - #5 Song of the Morning by Nicholas Roerich.